CRASH+SUES Goes Off-Road With A High Octane Spot For Polaris That Showcases The Color Correction Expertise of SUE And Her New Digital Vision-Based Color Suite

Publish date:
Social count:


colorist SUE demonstrated her expertise in the company's new color suite with a rugged outdoors spot for Polaris Industries, the number one maker of ATVs and side-by-sides.

The vignette-style commercial showcases the

"Breadth of Product"

Polaris offers and highlights several models in the environments they were designed for. The spot opens with the company's trail-dominating legend, the Sportsman XP 850, cutting through a path in the woods to join other Polaris off-road vehicles in a high-country clearing. Next, the voiceover spotlights the new Ranger 500 EFI, driving into a barn, busy with farm chores, that launches a new group of value-minded Polaris workhorses. It closes with hunters in camouflage driving a Ranger XP 800, the vehicle that heads up a new team of hard-working hunting machines. The tag line, "Polaris: Hardest working, smoothest riding," brings home the commercial's message. "Breadth of Product" was shot on location on a Sony HDCAM SR 4:4:4. Additional stills of sky and

clouds were captured with Canon's EOS 5D Mark II and used for the time-lapse sky scenes.Assistant colorist Matthew Jensen loaded all the footage onto the Galaxy Aurora SAN, and from there everything was logged and given to C+S editor Carrie Shanahan. C+S award-winning colorist, SUE, notes, "The original footage was exposed to give me the greatest flexibility for color correction in post. But, as a result, the dailies looked a bit flat. Because we had already captured the forage, the client was able to come into the color suite, and start working on fine-tuning the color looks before the spot was cut - which gave us a head-start when final edit was approved."

Our clients, The Integer Group's Robert Stocking and Ned Connelly, wanted slightly different looks for the different seasons of the year. For the hunting scenario, we first tried going warm and fall-like tones, and then a cool silvery look," SUE recalls. "We liked the cooler look, but ended up brightening and warming it slightly. We also changed the color of several of the vehicles, making two red ones green." The spot marked the first time that SUE employed the tracking and matting software on her new Digital Vision Nucoda Film Master color correction system. "This is new technology and I'm still experimenting with it, but this project really showed what this system brings

to the table," says SUE. "The difference between the 'befores' and 'afters' is quite impressive. All the scenes had the blackest parts lifted to show detail on the underside of the vehicles; in addition we paid special attention to the skies and made subtle tweaks on the product color." Adam Celt tracked in product supers for the three shots that had dynamic camera moves. Mark Anderson create the other static supers. Carrie Shanahan, who edited the original: 30 spot, recently cut a: 60 version for the client. Donna Drewick executive produced for CRASH+SUES.

ABOUT CRASH+SUES: CRASH+SUES is an award-winning creative post and visual effects company specializing in the seamless integration of animation, FX, motion design, color correction, creative editing, finishing and multimedia services. For additional information, contact executive producer Nathan Keech at 612.338.7947 or visit



Polaris Industries


"Breadth of Products"


:30 +:23/7 broadcast spots +:60 version


The Integer Group/Denver Director of Integrated Production: Robert Stocking Associate Creative Director: Ned Connolly Account Director: Keith Shifrin


: Streetlight Films/Los Angeles Director/DP: Nigel Simpkiss/London DP: Ben Joiner/London Line Producer: Matthew Lynch/Los Angeles Executive Producer: Taylor Pinson/Los Angeles


: CRASH+SUES/Minneapolis Colorist: SUE Junior Colorist:Matthew Jensen


CRASH+SUES/Minneapolis Editor: Carrie Shanahan Online Editor: Ryan Wheeler Assistant Editor: Matthew Kroese Executive Producer: Nathan Keech


Echo Boys/Minneapolis Music: Echo Boys Sound Designer: Tom Lecher Audio Engineer: Ross Nelson Producer: Sara Davidson


Bluebell Triple Stack Silhouette

Bluebell Opticom at the 2018 NAB Show

At the 2018 NAB Show, Bluebell will demonstrate the Silhouette line of rugged, deployable, high-density, mixed-technology media converters. The heart of the Silhouette power-insertion product family for robotic cameras in remote production scenarios, the Silhouette is a fully integrated 4K UHD robotic head system that works with SD-SDI, HD-SDI, 3G-SDI, and 4K UHD cameras to provide power and control to the camera head and fibre optic connectivity for the remote-control panel. As a result, operators no longer need to rely on stadium power. The customizable Silhouette comes in three sizes and can accommodate any combination of 4K HDR, quad 3G-SDI, trilevel sync, GigE, serial data control, communications, IFB, and multichannel audio signals. Customers can choose to get power from a 12V DC supply, a V-Mount battery, a hybrid cable, or a combination of the three. Introduced at IBC2017, Silhouette units are deployed all over the world in sports, theatre, and music venues.


Riedel Intercom System Shines for 'Singin' in the Rain' at the Grand Palais

Riedel Communications' intercom systems have taken center stage for "Singin' in the Rain," the first musical ever presented within the famed Grand Palais in Paris. Directed by Robert Carsen, this version of the popular musical originally opened at the Théâtre du Châtelet theater and opera house and then moved to the Grand Palais when the Châtelet closed for renovations. Riedel's Artist, Bolero, Performer, and RiFace systems support communications throughout the 2,400-seat theater built within the Grand Palais.